Rarely do we praise a movie to this extent. After watching the film, three women of varying ages (between 14 and 75) came out crying: my aunt, my daughter, and me. It is a tale of love and hope, of coming together and breaking away and forging relationships that are beyond definitions and moulds. The empowering journey of Laapataa Ladies reminds us of a world where there is innocence and where justice prevails. Is the movie setting representative of the real world? Not really, but it is that world we would like to believe in.
In this movie, a young woman, alone on a railway station, does not get physically or emotionally violated.
On the contrary, she meets people who become her companions, and they form a beautiful relationship. In the real world, such goodness is amiss. We love the movie because its narrative touches upon dowry death, women’s right to education, lack of literacy, lack of agency, internalised misogyny, and many more pertinent concepts. Yet, it maintains a storyline that wants you to believe that everything is well in our world.
The plot: Set in a rural area, echoing the sheer goodness of storytelling
Directed by Kiran Rao, ‘Laapataa Ladies’ challenges societal norms and perceptions, particularly regarding women’s station in life, their safety, and their rights, in a soft fantasy-like fairy-tale narrative. It reminds us of Welcome to Sajjanpur, a long-forgotten movie by Shyam Benegal, and Dor- a Nagesh Kukunoor film.
Nirmal Pradesh: The fictional land resembling the heartland
Set in 2001, in the fictional land called Nirmal Pradesh, we encounter two newlywed brides on a train. Their faces are veiled with Ghungats, and they are seated alongside their grooms in a train compartment.
The train scene in the movie is significant. Phool (Nitanshi Goel), subdued and vulnerable, is in her red saree and face covered in her veil, following her cheerful husband, Deepak (Sparsh Shrivastav), to the train station. Two other newly married couples are accompanied by their families. The women are all dressed in red sarees, and all of them are wearing long, impenetrable veils.
While Phool was leaving her parental home, she almost tripped and fell over. Someone told her that now, with the veil, she had to learn to look down while she was walking. It is an innocuous statement, but it states a vital truth fundamental to Indian society—how marriage changes the way a woman is supposed to walk or view the world.
The plot thickens
Anyway, going back to the train scene, the seating arrangement keeps changing. It’s like a musical chair. Someone alights, making space for someone standing, and it goes on. The scene is complete with a boastful conversation about dowry among the two families.
In the meantime, Deepak descends on the platform, and there is a change in seating in his absence. Phool moves away towards the open window as some others alight. Unaware, when he comes back, he assumes his wife is sitting opposite him. Later on, Deepak abruptly awakens, realising he is about to miss their stop. Hastily, he grabs the nearest hand and disembarks. The other bride, Jaya (Pratibha Ranta), accompanies him despite knowing it’s a mistake Deepak is making.
Jaya takes a leap of faith by going away with another man. It is established that she was aware that she was sitting next to her husband. Upon arrival at Deepak’s village, the couple is met with confusion as it becomes apparent that Jaya, not Phool, is Deepak’s companion. As the story unfolds, Phool finds herself stranded at another station, filled with fear and uncertainty, disrupting the audience’s comfort and expectations.
Society and the fear of violation and rape
Phool, when she wakes up, realises that she is alone and with the wrong man. She escapes. Stranded at Pateela station, Phool encounters a supportive community, notably Manju Mai (Chhaya Kadam), whose tea stall becomes a refuge. She meets Abdul, the amputee- reminding us of the iconic character played by Mazhar Khan in Shaan and Chhotu, a young boy who becomes her friend. The first night, before she goes to Manju Bai, she spends the night in a small room with Abdul and Chhotu. A newlywed bride breaks another taboo. She sleeps with men and shows her unveiled face to them.
She is seen in her red bridal saree throughout the movie. She somewhere hopes that her husband will come back to fetch her. The red saree becomes a symbol of her marriage, and she does not want to change into a fresh piece of clothing as he may not recognise her in another garb. Her identity is secure in her saree. On the other, she also fears that her husband may not accept her as she spent four days alone on a railway platform. The beautiful interplay of emotions, her want to be found, and also her genuine fear of being lost forever- they are poignant and heartwarming.
The educated woman in the empowering journey of Laapataa Ladies
Meanwhile, Deepak’s village searches for Phool while Jaya’s presence transforms his family dynamics. Be it by sharing farming advice to save the crop or by another woman finding her passion, she ignites the hope of freedom. She encourages fellow women to speak—a fundamental freedom unavailable to many in India. She plays a vital role in finding Phool. Her agency is a function of her education. She comes across as a nuanced character with shades of grey, which unfolds beautifully as the movie progresses.
Everyday dialogues that are relatable
The film’s dialogue enriches its narrative, revealing societal dynamics and gender expectations. Phool’s sister-in-law’s simple statement highlights the alienation women feel in households while their husbands are away. At the same time, the scenes in the police station reflect unequal power dynamics between the ordinary person and the cop.
The subtle take on our patriarchal society
Despite its slice-of-life tone and natural humour, ‘Laapataa Ladies’ maintains a sense of unease. The audience wonders about Jaya’s motive and Phool’s fate, keeping them engaged throughout. A careful plantation of fraudulent activities of thieves who pose as newlywed brides makes us almost believe that Jaya is one of them. Deepak’s friends casually discuss worst-case scenarios. The fear of violation looms large in the minds of the viewers.
Attention to detail, from set design to character development, enhances the viewing experience. Each character, including Manju Mai and Deepak’s friends, receives ample depth and screen time.
The empowering journey of Laapataa Ladies: The actors and the characters
Pratibha Ranta portrays Jaya’s longing for freedom, while Nitanshi Goel’s Phool subtly evolves, radiating newfound confidence. Sparsh Shrivastav delivers a compelling performance as Deepak, torn between guilt and the search for his wife.
The light banter between Phool’s mom-in-law and her mom-in-law is touching. She proposes to her mother-in-law if they could become friends. A first in a movie: Bollywood is famous for making mom-in-laws enemies of their daughters-in-law.
Small conversations resonate with us, such as women not cooking anything for themselves because they like a particular food. Women cook for the men. Now, the mother-in-law does not remember what she likes to eat. It is a simple statement. Isn’t it universally true? Aren’t we all a little “Laapataa” about our own needs and wants in our day-to-day lives, catering to family and friends?
The final thoughts on the empowering journey of Laapataa Ladies
In summary, ‘Laapataa Ladies’ is a nuanced exploration of societal expectations and women’s agency, elevated by its ensemble cast and thoughtful direction. The film works at different levels. Ravi Kishen and his portrayal of an intelligent and corrupt corp to how his character uses humour to interact with his prey, the politicisation of a missing bride, addressing internalised misogyny, championing the right to education, dowry death, it seems a lot of social issues. There are too many of them?
But isn’t our world a little like that? With too many issues that systemically thwart women? The movie addresses several issues softly and gently. One comes out smiling and crying, feeling elated that Phool finds her love and Jaya, her wings. We applaud you, Kiran Rao, for making us believe that love finds its way, freedom finds its way, and there is hope everywhere for women who go Laapataa every day in myriad ways.
Disclaimer: The views expressed in this article are based on the writer’s insights, supported by data and resources available both online and offline, as applicable. Changeincontent.com is committed to promoting inclusivity across all forms of content, which we define broadly to include media, policies, law, and history—encompassing all elements that influence the lives of women and gender-queer individuals. Our goal is to promote understanding and advocate for comprehensive inclusivity.
